The fours shows of this landmark run are so similar that it's easy to compare them (they were playing to record specific songs to be culled for the live album). Though this night isn't as great as the first two shows overall, it's still beloved, has don't-miss highlights, and plays well as a whole show. Jerry plays acoustic during Dupree's, Mountains and the jam following.

First Set. Great start, with a fine That's it for the Other One suite into New Potato, following the then-current album sequence. There are many better TiftOOs in '69, though it's still good, and in Potato Phil has a solo and then plays the Patricia Jam @5:25. They are never quite on top of this Caboose (and are about to retire it) but it's still welcome. This is the final one coming in from TifTOO (as on Anthem). Doin' that Rag has a nice end solo. All copies have some speed wobbles, which are mostly corrected by a -1% pitch correction. These are worse in Cosmic Charlie which runs very fast in places. Pitch corrections needed on the OFF, approx.: -2% first 20secs; -1% 0:20>1:14; -2% 1:14>1:55; -3% 1:55>2:07; -2% 2:07>2:27; -3% 2:27>2:45 ; -2% 2:45>3:25; -3% 3:25>4:15; -2% 4:15>4:28; -3% 4:28>4:45; -4% 4:45>5:15 then slowing to -3%. The 132657_healy-latvala has been slowed for a better average, but still needs -2% to +1%.

Second Set. They speed the tempo through Dupree's Diamond, there is some feedback from the acoustic guitars, and you can't hear some of the instruments [on the OFF], but that doesn't much diminish this well-executed version. Try the ashley-bertha_9391, which has a better mix here. Mountains of the Moon is technically polished but kind of a bland outing and the same can be said for this Dark Star; fine enough, but doesn't really go anywhere compared to the previous two nights. St. Stephen is sharp, gathering what was spilled – except in California! The speed wobbles are back (looks like on all sources, but the OFF needs: -1% 7:00>7:44; -1.75% 7:44>7:58). The peak of this show is the superb The Eleven, with inspired licks from the Phil/Jer axis. It too pitches up viciously. Corrections on the OFF are: -1% 0:05>2:08 ; -2% 2:08>4:40; -3% 4:40>end. The better 132657 "SBD" needs -1% by 3:20; slows to 0 by 6:20; and needs +1% 6:55>end. Lovelight has some good Jer, some Pig reaching. The pitch is too fast at first on all sources, with the OFF needing -4% 0>0:30; -3% 0:30>0:40 ; -2% @0:40> slowing to 0 by 1:00. Though this Hey Jude is famously bad, Jer does warn that they are going to make it up as they go along. A you-had-to-be-there, though game enough, this was a current hit on the radio (back then, often pre-faded by stations). When it was abruptly played at Red Rocks '85, I would imagine that Brent was unaware the Dead had ever played it live.

1st Set:  B-
2nd Set: C+
Overall = 3¼ stars

Highlights:
Dupree's Diamond Blues – quintessential acoustic version
The Eleven – pure '69, plus the St. Stephen setup

SOURCES: The kaplan_4030 is the original 16-track Healey mixdown. The ashley-bertha_9391 is the EQd version with the channels switched. The 132657_healy-latvala-wise is an updated, flat transfer. It sounds the same as lesh-serafin_13584, except it's missing some tuning and the channels are switched. Fillmore West Complete has the whole show, in a different mix, and there's a three-record breakout. The 3-disc version of Fillmore West 1969 has Dupree's & Mountains of the Moon.

the organ at 15:05 is prime time

This is primal,creative,and absolutely amazing Dead.I cant believe any deadhead would give this less than 5 stars.Im so grateful for these shows.Thank you so much to everyone involved.

Great Other One, nice Lovelight, patchy otherwise, terrible Hey Jude.

Never having purchased the commercially released upgrade, I missed the final leap in generations and remastering. However, this flat transfer is amazing. It sounds like the cleanest possible copy of the recording I first had an encounter with back in the 80s. This was a late-night staple of watching curtains settle down on the billowing halogen glow plaster walls of deep breathing. There was a unique blend of vocals, a bit electric, a bit tiny sounding, as if the PA had had a unique phasing. You could hear lips brushing the outside of a mic's casing this is so clear. Amazing. Is there anything finer?

ya this is rad , totally enjoying it. I like the sound and ferocity.

This sounds awesome and kudos to the fine folks who opted for the "flat transfer".

Only two songs from this show (Dupree's and Mountains) made it onto the Fillmore West box (the smaller one that didn't disappear in two seconds) which was a shame because the rest of the show is dynamite.

I definitely recall a transfer of Set II, at least, making the cassette rounds back in the 80s, notable (I thought) for being the most readily available "best representation" of what Constanten brought to the table.

Jerry's ego and talent is still dwarfing that of his bandmate's at this time, although they are definitely catching up (Phil especially). Where he goes, they follow ... lots of those trademark glittering, swirling explorations of the nether regions of the fretboard where the pick-ups are practically underneath his fingertips.

Weir blazes some very fine trails of his own in the first half of The Eleven ... they shortcut the "outro" jam pretty much completely, however, and head into the Lovelight.

For what it's worth, I prefer this rendering of Hey Jude to all the Dead's other efforts (which isn't saying much ...)